It’s rare for me to exit a film theatre thinking “I’ve just squandered over an hour and a half of my life on this.” Typically, I take away something from what I’ve seen – perhaps a fleeting sense of pleasure or elation, or maybe even anger or frustration at its worst. While these detrimental emotions suggest that I’m experiencing some emotional state, they’re at least emotions I can engage with and articulate. Despite walking out of the Borderlands film, my emotions were stuck in a state of numb indifference. What was the purpose of this inquiry? The notion that a particular film could be its own worst enemy, I’d argue, is perhaps the most scathing critique one can level against any cinematic endeavour – and describing the Borderlands movie as ‘artwork’ already borders on excessive generosity.
Since 2015, a film adaptation of Borderlands has been in development, and after a decade-long journey, it’s finally arrived on the big screen. Initially, the story was meant to be about Lilith, a morally ambiguous bounty hunter, but what unfolded was this: Cate Blanchett’s Lilith, an unemotional and detached individual solely driven by financial gain, is hired by a powerful corporation to rescue their daughter, Tiny Tina (Ariana Greenblatt). When plans go awry, she embarks on a perilous journey with Tina, accompanied by Roland, the mercenary who initially kidnaps her; Krieg, a hulking giant of a man whose taciturn nature is as imposing as his physique; Patricia Tannis, a driven doctor fixated on uncovering a mythical vault; and Claptrap, an exasperating robot whose incessant humor falls flat.
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In general, this sturdy structure prevails. Cate Blanchett and Jamie Lee Curtis are both esteemed Oscar-winning actresses in their own right. You’d expect the film’s tone to be influenced by the book’s themes of existential crisis and societal disillusionment, with a subtle yet pervasive sense of unease permeating every scene. As Borderlands’ lead, Blanchett’s efficiency appears tempered by a tinge of regret. Before the pandemic, she had declared that taking on this role was a deliberate attempt to distract herself from the impending madness of the COVID-19 lockdown; however, none of that creative energy seems to have translated into her final output. As she stands uncertainly, her lack of conviction is palpable, casting a subtle doubt on the proceedings that seeps into everyone’s psyche.
As Hart’s comedic attempts fall flat once more, his struggle to exude even a hint of coolness becomes increasingly evident, despite his obvious appreciation for the skilled soldier. Munteanu’s portrayal of Drax lacks the endearing charm and charisma that made Dave Bautista’s performance so memorable, resulting in a low-cost imitation that fails to capture the character’s essence. Curtis appears to be a decent enough individual, all things considered. Given her extensive experience, she is well-equipped to excel in a wide range of roles, on par with the versatility of Black. As Claptrap, I alone managed to elicit a solitary chuckle from him, while the rest of his jokes fell flat. Although her days as a Disney Channel star still seemed to weigh on her, Greenblatt at least appeared to be having a good time.
Neither of the characters undergoes actual personal growth or development throughout the story. Without spoiling anything, it’s evident that most people opt for the Lilith path, but gamers will spot the major plot twist from a considerable distance as they progress through the film. Despite being oblivious to the video games, those unfamiliar with them may struggle to understand why they should care, as the improvement lacks emotional depth in every aspect – everything unfolds ploddingly as a mechanical requirement for plot progression, rather than any deeper commentary on the world. Characters are reduced to mere punchlines or obstacles, as narrative threads are carelessly abandoned in pursuit of a hasty climax. It’s often both tedious and draining in some way.
Is there no way out? Perhaps the path was indeed sturdy, its ruggedness imbuing the scene with a sense of adventure and resilience, while the cinematography added a burst of energetic dynamism that heightened the visual appeal? Nope! In their initial appearances, Roland and Tiny Tina are presented in a predictable, tried-and-true formula – the former’s introduction is paired with a medium close-up, while the latter’s entry is marked by a symmetrical shot-reverse-shot dynamic. Severely? YES Lifeless. Static. It cannot be emphasized strongly enough that for the next 100 minutes, there will be minimal provisions available.
Despite its potential to dominate the frame in a Borderlands adaptation, the motion remains stagnant and devoid of vitality. The frenzied cuts and the proximity of the digital camera to the characters create a sense of urgency, yet hinder our ability to fully immerse ourselves in the setting. It’s a crying shame that a film with such impressive set pieces fails to harness their full potential, instead leaving them underutilized and lacking in impact. It appears that nothing was gained from this supposed experiment. In the world of Borderlands, an entertaining atmosphere prevails, but this aspect is largely understated.
Despite everything else, I struggle to help and instead query: “What was the purpose?” Honestly, I’m baffled as to how to discern it. I intend to capitalize on a well-established intellectual property by leveraging its existing popularity and cashing in on the seasonal boost during the summer blockbuster season, all while exploiting the lucrative market opportunity. Will strategically boost the overall revenue from video game sales. What’s the thrill of introducing something novel to the table? What’s driven the Fallout TV series’ groundbreaking success is its ability to transcend genre barriers and captivate a broad audience despite initial reservations.
The Borderlands movie’s sole purpose appears to be its own existence. The true motivation behind their endeavour seems to be purely financial gain, with no apparent drive to innovate or break new ground. In an industry often marred by uninspired storytelling, this film stands out as a particularly egregious example of creative bankruptcy and vacuity. Don’t miss out on the fun; instead, tap into your gaming enthusiast friend’s expertise and let them enlighten you as to why Borderlands is a treasure trove of thrilling entertainment. You may indeed have more time at your disposal.
